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1.12 Whatever the Case May Be Transcript
| Dagen= | Flashback=Geschreven door: Damon Lindelof & Jennifer Johnson | Info=Geregisseerd door: Jack Bender}} -------------------------------------------------------------------------------- of Kate climbing down a tree. She hears a noise and stops. She continues walking, hears the sound again and picks up rock and throws it. SAWYER camera in the jungle, then stumbling into the clearing: Ow. Son of a bitch. What the hell are you doing? KATE: What the hell are you doing? SAWYER: It's my knee. You practically busted my damn knee. KATE: You stalking me, now? SAWYER: Stalking you? I was protecting you. KATE: From what? Southern perverts? SAWYER: Yeah, whatever. I can't believe you. KATE: It's not that bad. SAWYER: It's my knee. I'll tell you how bad it is. What the hell you doing out here anyway? KATE: Everyone's been eating a lot. This is the only place the trees aren't picked clean. SAWYER: Yeah, well, you shouldn't be out here alone. Not after what happened. . . KATE: I'm fine. I can take care of myself. SAWYER: Oh, of course. Kate I don't need protection. I can take care of myself. Me Kate. Me throw rock. KATE something: Shhhh. SAWYER: What? You smell blood on the wind? KATE: You don't hear that? move toward the sound. The sound of water gets louder as Kate and Sawyer emerge from some bushes to reveal a large spring with a waterfall. Sawyer starts running toward it taking off his shirt. KATE: What are you doing? SAWYER: I need to soak my sore knee. Come on, Freckles, after all we've been through on this damn island, don't we deserve something good? What? You going to say no? You some sort of no fun, navel-gazing, mopey type? climbs in. Kate takes off her pants and gets in. SAWYER: Well, she's taking her pants off. . . it's chilly. Come on, girl, woohoo. It's nice, huh? C'mon, what you got? C'mon, let's go up the rocks. see Sawyer and Kate frolicking in the spring. They climb up some rocks and dive in. More frolicking until they see two dead bodies from the plane under the water still strapped in their seats. COMMERCIAL BREAK surface from the spring, sputtering. SAWYER: Are you okay? KATE: Yeah. Yeah, you? SAWYER: Yeah, I'm going to go check them out. KATE: Check them out for what? SAWYER: See what they got on them? KATE disgusted: Sawyer. dive down and Sawyer gets a wallet off the dead guy. Kate sees a silver case. They surface. SAWYER: Hey, I got myself a wallet. KATE: You're disgusting. SAWYER: He ain't gonna miss it. KATE: Help me get that case. SAWYER: Oh, I'm disgusting, but you're not? KATE: It's mine. dive under and struggle a bit to get the case which Sawyer pulls free. SAWYER Kate the case: Wouldn't happen to have your key on you would you? looks the case over That case ain't yours, is it? KATE: No. SAWYER: Well, you wouldn't mind if I just take it. KATE: I don't care. SAWYER: Not what it looks like. watches as Kate puts her pants back on. Something you want to tell me about this little suitcase, Freckles? KATE: Take it. walks away. Then we see a shot of the ocean. Big waves are pounding. People are trying to rescue luggage that's being washed off the beach. SAYID: Everything is getting washed out to sea. This can't be normal. The tide shifting so suddenly, rising in so short a time. JACK: There's a lot not normal around here. At the rate this beach is eroding this fuselage is going to be underwater in a matter of days. We need to get all this stuff off the beach before nightfall. SAYID: I just hope that moving up the coast will make a difference. JACK: It would make a difference if everyone moved inland. SAYID: I think you'll find people slightly wary of entering the jungle after what happened to the pregnant girl. Not to mention whatever that thing is. JACK: Sayid, I need you to take me back to the French woman, Rousseau. Claire's still out there. Now, Rousseau mentioned that there are others on this island. SAYID: Her mind is gone. JACK: You heard them yourself. SAYID: I don't know what I heard. JACK: You said that. . . SAYID: The wind, Jack. It was the wind playing tricks. JAKC: Okay, then, what about the papers that you took from her -- the documents, the maps. I mean, isn't there anything here that. . . SAYID: I'm good at mathematics and decryption, but these equations are beyond anything I've ever seen. There are these notes in French accompanying some of the maps and diagrams. If I could translate them I might be able to make sense of it, but. . . JACK: What? SAYID: Perhaps some things are best left untranslated. JACK at Charlie: Yeah? Maybe you should tell him that. of Charlie looking sad. Shot of people still getting luggage out of the surf. Shot of Shannon reading a magazine. Boone approaches. BOONE: Glad to see you're doing something productive with your time. SHANNON: Where have you been? BOONE: What do you mean where have I been? SHANNON: You and Locke have been leaving before sunrise and coming back after dark for the last 4 days. What are you doing out there? Is he your new boyfriend? BOONE: We're looking for Claire. SHANNON: I thought there was no trail anymore -- that no one even knew where to look. BOONE: Yeah, well, at least I'm doing something. Don't you see the way they look at us around here? They don't take us seriously. We're a joke. I'm trying to contribute something. You're just -- you're useless. shot of Shannon looking chagrined. Shot of ocean sunset. Shot of Kate sitting by a fire. She sees Sawyer with her case. FLASHBACK see Kate at a bank. Mark Hutton employee: Okay, Ms. Ryan, if you'll just give me some ID, we'll get started on your loan app. KATE her ID to Hutton: Okay, here you go. HUTTON: So what brings you to New Mexico? KATE: My work. HUTTON: And what line of work is that? KATE: I'm a photographer. HUTTON: What do you photograph? KATE: I've been commissioned for a coffee-table book. Uh, pictures of old theaters in small towns. HUTTON: Oh, there's a fantastic one down in Riodoso you can't miss it. It's right off the main road. KATE: Well, if I end up using it, I'll have to make sure I give you acknowledgement, Mr. -- Hutton. HUTTON: Mark hear the sound of a door slamming. ROBBERS: Everyone down on the ground. Down on the ground, now. of masked men shooting out the security cameras. Hutton reaches for the alarm button. ROBBERS: Don't. Don't even think about it. Let's go. Shut up and move over there. Let's go. Move. Who's back there, I see you. All right, big boy, get your ass down there. Get out. Kate Alright, girlie, get up and get over there. Let's go, move. Stay there, right there. Get that off -- Hutton Are you the manager? I said, are you the manager? HUTTON: Yes. JASON Robber: Good. Let's open the money cage, now before people start getting killed. ROBBER #2: Don't look at me, look at the floor. of Kate. to the beach. Shot of Kate going into Sawyer's tent. She sees him sleeping with the case between his knees. She sneaks up and tries to take it, but he grabs her and traps her with his legs around her waist. SAWYER: Gotcha. KATE: Get off of me. SAWYER: Golly, I hate to bicker about positions, sweetheart. But I think you're the one on top. Maybe you're not here for the case at all. head-butts him and tries to grab the case, but Sawyer is stronger. SAWYER: Ow, woman. If you wanted to play rough, all you had to do was say so. You want to try for it again? KATE: Give it to me. SAWYER: No. walks away. COMMERCIAL BREAK of Shannon sunning herself. Sayid limps up. SAYID: We're quite close to the equator. The sun might be stronger than what you're used to. SHANNON: I have a pretty good base. SAYID: There was a matter I was going to ask you about. sits up with no top on, covering her front with a pink shawl. SHANNON: What? SAYID: I need a favor. I need your help translating some papers I took from Rousseau. SHANNON: Who's Rousseau? SAYID: The French woman -- the distress call we intercepted. SHANNON: Did my brother put you up to this? SAYID: Your brother? No. The papers contain equations accompanied by notations in French. If I could understand the notations then. . . SHANNON: Sorry, can't do it. SAYID: You're the only person on this island who speaks French. SHANNON: I barely speak French. SAYID: Please, Shannon, can you at least try? shot of Shannon. Shot of Sawyer trying to pick the lock on the case. SAWYER that he can't open the case: Son of a bitch! Michael by: You're wasting your time, man. If you pick the lock on a Halliburton, I'll put you on my back and fly us to LA. SAWYER: You better find yourself a runway, daddy, cuz there ain't a lock I can't pick. HURLEY up along-side Michael: What's he trying to do? MICHAEL: Pick the lock on a Halliburton. HURLEY walking away: Good luck. MICHAEL: The only way you're going to open that case is with pure force, man. Impact velocity. SAWYER: What the hell is that supposed to mean? MICHAEL: You've got to hit it with something hard, like a sledgehammer. Or the axe. of Boone making his way through dense jungle with the axe. He comes upon Locke sitting. LOCKE: You got it? BOONE the axe to Locke: Yeah. Isn't there any easier way to get there? LOCKE: The easiest way isn't always the best. Did anybody see you take it? BOONE: No, I don't think so. LOCKE: Well, which is it? BOONE: Sorry? LOCKE: No? Or, I don't think so? BOONE: No. LOCKE: Good. Let's get to work. of Rose dragging a piece of wreckage across the beach. She passes by Charlie. ROSE: Hello, Charlie. doesn't respond. Oh, that's right, you're not talking much these days. It doesn't mean you get to be rude. CHARLIE: Excuse me? ROSE: Everybody else is helping us move the camp up the beach except for you. CHARLIE: Are you serious? ROSE: Do you think you're the only one on this island that's got something to be sad about? Baby, I've got sob stories for you, so why don't you grab the other end of this thing and help me. Well? reluctantly gets up to help. Shot of Sawyer trying to open the case by smashing it on a rock, which doesn't open the case. SAWYER the top of the cliff above: Impact velocity -- physics, my ass. Alright drops the case but it doesn't open. Son of a bitch, unbelievable. runs up and grabs the case. Hey, hey, don't even think about it. Hey, damn it. of Sawyer chasing Kate through the jungle. He catches her. SAWYER: Hell, Freckles, I knew you wanted it. I just didn't know how bad. tries to head-butt him again. Whoa-hoa, you're going to have to come up with a new move. head-butts him again. Ow, god, okay, okay. grabs the case. Okay, this is silly. I've got a proposition for you. You tell me what's inside and I'll give it to you. KATE: Are you serious? SAWYER: Hell, there's no way to open the damn thing. At this point all I care about is satisfying my own curiosity. lunges for the case. Whoa, easy sweetheart, I don't really care what it is. What's burning me up is why it means so much to you -- last chance. Alright. walks away with the case. FLASHBACK are back at the bank robbery. JASON at first: Give me the key, now. I'm tired of asking nice. Give me the money cage key, now. HUTTON: You're just going to kill me, anyway, why would I give you. . . JASON Hutton so he falls: You think we're in a conversation, here, huh? ROBBER #2: Everybody be cool. You want to go home? Don't look at me, look at the floor. Be calm, stay down. JASON Hutton: Listen to me, I am not going to ask you again. I want that key. BASEBALL HAT bank customer, whispering to Kate: I can take him. KATE: What? BASEBALL HAT: The tall guy, he's not watching himself. It's now or never, I'm heading out. Hat grabs Six Foot Five (one of the robbers) and the gun falls and slides toward Kate. BASEBALL HAT: Pick it up, pick it up. Shoot him. What's wrong with you, shoot the gun. Turn off the safety. picks up the gun and stands up. Points the gun. Tries firing. Jason comes over. JASON: Give me that gun. BASEBALL HAT: Other side, turn it off. KATE: I don't know how to use a gun. Hat gets knocked out by the other robbers. Jason grabs the gun from Kate. ROBBER #2: Want to get shot fat boy, huh? JASON Kate by the neck: Okay, little hero. . . KATE: No, please don't. JASON: Shut up. Let's you and me go talk, huh? drags her into a room. Hutton looks on, worried. Jason slams the door, rips off his mask. JASON: I don't know how to use a gun? That's classic. and Jason kiss. COMMERCIAL BREAK of Sayid and Shannon at a make-shift table with maps and papers laid out. SHANNON: You never said anything about math. SAYID: You worry about the French, I'll take care of the math. SHANNON: I can't do this. SAYID: If you really put your mind to it, I know you can Shannon. Where did you learn to speak French? SHANNON: I knew this guy. SAYID: This guy? SHANNON: In France, in Saint Tropez. I kind of lived there for awhile. SAYID: Well, they say that is the best way to learn a foreign language. SHANNON back to working on the papers: Alright. Let me see. of Sun with some plants in the caves. Jack approaches. JACK to one of her plants: So, what is this? What is this for? SUN: something in Korean, then puts her hands to her temples and makes like she's in pain. JACK: A headache? nods Oh, cool, alright. KATE entering: Jack? We have a problem. JACK: We have a problem? Or, you have a problem? KATE toward Sun like she doesn't want Sun to hear: Jack, you're the only one who knows about me. move off a little ways. Before I left the city, the Marshal who was escorting me, he had this silver case. The airline wouldn't let him bring the case on the plane. It was hard enough trying to convince them to let him wear a gun on his ankle. But the case, they made him check it. JACK: What was in the case? KATE: Some traveling money, some of his personal stuff. And 4 nine millimeters with a few boxes of ammo. JACK: Guns? KATE: Guns. of Sun overhearing. JACK: So, where's the case now? KATE: Sawyer has it. He hasn't been able to open it. JACK: Lucky for us. KATE: He will. Sooner or later. JACK: So, what do you need me to do? KATE: I know where the key is. The Marshal, he kept it in his wallet. In his back pocket. JACK: I buried him, Kate. KATE: I know. Where? JACK: So, what else is in the case? KATE: What? JACK: What else is in the case, Kate? KATE: Nothing. JACK: That's the truth? KATE: Just the guns. JACK: If you want my help, we're going to open the case together. KATE: Okay. JACK: Okay. of Charlie and Rose moving stuff on the beach. CHARLIE: Why are you smiling? ROSE: Am I? CHARLIE: You look happy. ROSE: Well, I guess I must be then. CHARLIE: There's no reason to be happy, things are awful. ROSE: They're not that awful. CHARLIE: We're stranded on an island. No one's coming for us. ROSE: You don't know that. CHARLIE: Well, what I do know, is there's something in that jungle that eats people. Just because we haven't heard from it in a couple of weeks doesn't mean it won't get hungry again. And I know there's a person, or people, that are trying to hurt us. . . ROSE: Charlie. Nobody blames you. CHARLIE: What? ROSE: For what happened to Claire. It's not your fault. You did everything that you could do. And you came very close to dying yourself. CHARLIE: Maybe I should have died. ROSE: You know what I think, Charlie? You need to ask for help. CHARLIE: Who's going to help me? of the jungle floor. KATE camera, at first: So, why didn't you put him with the others, when you burned the fuselage? JACK: Because I needed to bury him. and Kate grab some make-shift shovels. KATE: So you ready to do this? FLASHBACK are back at the bank. JASON: Hell yeah, by now their imaginations are running wild. KATE: Don't hold back. He won't talk if the details are off. JASON: You and your details, Maggie. hits her. brings "Maggie" out from the back room with red marks on her face, and shoves her through the door. JASON: Okay, hero -- shut up. KATE: Don't, please don't. ROBBER #3: Everybody just relax. I said quiet. JASON: Okay, Mr. Manager, you want to be a hard-ass? Protect a vault that doesn't even belong to you? is shaking her head no at the manager. Okay? There's going to be consequences. KATE: He's going to kill me anyway. JASON: (Says something I can't understand right here.) Shut up. You've got 3 seconds to give me that damn key. 1, 2, his gun, 3. HUTTON: Alright, I'll give it to you. JASON: Okay, good. Let's go, right around here. Let's go. of Kate and Jack digging up the grave of the Marshal. Coughing and gagging. JACK: You alright? KATE: Compared to what? JACK: You want me to. . . KATE: No, I'll do it. gets the wallet from the Marshal's back pocket, much gagging going on. Kate gets it and jumps out of the grave. JACK: Did you get it? KATE: Yeah. opens the wallet which has maggots in it and throws it on the ground. Jack picks it up and looks through it. JACK: Key isn't in here. KATE: It isn't? JACK: No, but that was real good sleight-of-hand distracting me with the wallet. grabs Kate's closed hand. Open it. opens her hand to reveal the key which Jack takes. KATE: Jack, I. . . JACK: Don't. Don't. walks away. COMMERCIAL BREAK see Shannon and Sayid working on the translation. SHANNON: A des reflets d'argent. La mer des reflets changeants -- the sea of sparkles? No, wait, um, the sea of silver sparkles that change. of laughing It's the same as the last one. SAYID: Are you sure? annoyed. But the equation is completely different; it doesn't relate. What you're saying doesn't make any sense. SHANNON: Okay? SAYID: What about this one? It should say something about latitude or longitude, something about the stars. . . SHANNON: Okay, just give me some room, okay? Um, next to the pond, blue, um, blue eternity, blue eternity? No, wait, no, blue infinity. SAYID: Blue infinity? SHANNON: Blue infinity. There's something about this that is so familiar. SAYID: You've been telling me what sounds very much like nonsense for the past hour and now it seems to me. . . SHANNON: Okay, a) I told you that my French sucks, and b) this isn't my nonsense, okay? Did you ever think that after 16 years on mystery frickin' island your friend might not be quite adjusted? SAYID up the papers: This was a mistake. SHANNON: Yeah, haven't you heard? I'm completely useless. walks off. Shot of Sawyer at his tent, Jack approaches. JACK: Sawyer. SAWYER: Doctor? What can I do you for? points to the case. Figured she'd get you to do her dirty work for her. So what? Are we going to wrestle for it? JACK: No, you're going to give it to me. SAWYER: Am I? JACK: Yeah. SAWYER: I'm just going to give it to you? JACK: Yeah. SAWYER: Why would I want to do that? JACK: Cephalexin. SAWYER: Yeah, go on? JACK: That's the antibiotic I've been giving you for the knife wound in your arm. You're right in the middle of the treatment cycle now, if I keep giving you the pills you're going to be right as rain. But I'm going to stop giving you the pills. And for 2 days you're going to think you're all good, then it's going to start to itch. The day after that the fever's going to come and you're going to start seeing red lines running up and down your arm. A day or two after that you'll beg me to take the case, just to cut off your arm. SAWYER: That's a nice story, Jack. And, even if it were true I don't think you could do it. JACK: You're wrong. SAWYER: Did she tell you what's inside? shakes his head. Yeah, me neither. gives the case to Jack. Hope you got yourself some jaws-of-life back in cave-town, that's what it's going to take to pop this bitch. JACK: I'll figure something out. SAWYER: I know you think you're doing her a favor. But however she talked you into doing this, she lied brother. of Kate sitting on the beach with her far-away look, Jack walks up with the case. KATE: Jack? JACK: We're going to do this together. KATE: Why? JACK: Because that's what I said we'd do. walks off and Kate follows. FLASHBACK to the robbery. JASON: What the hell you waiting for? Open the damn thing. opens the door. Well, now we're talking. Don't move. KATE: Please, don't. JASON: Shut up. HUTTON: I let you in, now please, let the girl go. JASON: Let the girl go? Man, you have no idea, do you? The girl is the one who set you up. The girl is the one who picked this bank, picked this vault. This whole thing is the girl's idea. takes his mask off. KATE: What are you doing? JASON gun at Hutton: Easy, Maggie -- just cleaning up after myself. grabs a gun from Robber #2 and points it at Jason. KATE: You shoot, I shoot. JASON: Please, what's. . . KATE: I said, no one gets hurt. JASON: I know you're cold, baby. But you're not that cold. cocks his gun. Kate shoots him in the leg. Then she shoots Robber #2 & #3. JASON: You shot me, stupid bit. . . KATE: Shut up, Jason. ROBBER #2: I told you not to trust her. KATE Hutton: I need the key to safety deposit box 815, now. HUTTON: Who are you? KATE: Key to the box, now. HUTTON: You need 2 keys. The bank's, and. . . holds up a key. If you had the customer key, why would you need. . . KATE: I'm not on the signatory card. JASON: You put me up to this to get into a safe deposit box? I swear to god, you better kill me, Maggie. If you don't. . . KATE: My name's not Maggie. Hutton Now, go. opens the box which reveals an envelope inside. of Jack with the case. JACK: Anything you want to tell me? doesn't respond Alright then. opens the box and pulls out money, guns, ammo, and finally an envelope marked Personal Effects. Jack opens it and hands Kate a smaller envelope. JACK: Is this it? Is this what you wanted? opens the envelope and pulls out a small "toy" airplane. JACK: What is it? KATE: It's nothing. JACK: What is it Kate? KATE: You wouldn't understand. JACK: I want the truth, just this once. What is it? KATE: It belonged to the man I loved. JACK: The truth. KATE: It belonged to the man I loved. JACK: Stop lying and tell me the truth. KATE: I'm not. It belonged to the man I killed. sits down and starts crying. Jack looks nonplussed, he closes up the case and walks away. COMMERCIAL BREAK of everyone moving up the beach. Walt with his dog. Rose sitting by a tree, Charlie approaches. CHARLIE: Your husband was in the tail section of the plane. ROSE: Yes, he was. But he'll be back. CHARLIE: You think he's still alive? ROSE: I know he is. CHARLIE: How? ROSE: I just do. It's a fine line between denial and faith. It's much better on my side. starts crying. CHARLIE: Help me. ROSE: Baby, I'm not the one that can help you... Heavenly Father, we thank you. We thank you for bringing us together tonight, and we ask that you show Charlie the path... of Shannon walking up to Sayid on the beach. SHANNON: The guy from Saint Tropez, he had this kid, a real snot, who hated me. His name was Laurent. He watched this movie over and over and over again, everyday, all day, they way kids do, 900 times. It was the cartoon about fish, you know, one of the computer ones? SAYID: Why are you telling me this? SHANNON: Because the movie was dubbed in French. And at the end there was this song. Those notations, they're song lyrics. And your French woman, she's just like Laurent, because she wrote them over and over and over again. SAYID: What's the song? starts singing the song (La Mer) in French. Shot of Boone looking at them from behind a tree with a weird look on his face. Shot of Jack walking by Kate, looking at her. Shot of Kate with her little airplane. -------------------------------------------------------------------------------- Song lyrics for La Mer by Charles Trenent La mer Qu'on voit danser le long des golfes clairs A des reflets d'argent La mer Des reflets changeants Sous la pluie La mer Au ciel d'ete confond Ses blancs moutons Avec les anges si purs La mer bergere d'azur Infinie Voyez Pres des etangs Ces grands roseaux mouilles Voyez Ces oiseaux blancs Et ces maisons rouillees La mer Les a berces Le long des golfes clairs Et d'une chanson d'amour La mer A berce mon coeur pour la vie English Translation: The sea which one sees dancing along the clear gulfs to sparkles of silver. The sea Of changing sparkles Under the rain. The sea Confuses the summer sky's fleece With angels so pure. The sea Shepherdess of blue infinity. Look! Next to the ponds Those tall wet reeds. Look! Those white birds And those rusty houses The Sea Has cradled them Along the clear gulfs. And with a song of love The Sea Has cradled my heart for life. Category: Transcripten